[Under Construction: Updated 2 February 2015]

Christopher Allen. Christopher has been supportive and helpful regarding my submissions to Metazen, and he was also the guest editor who chose "Solstitial" (blind) for the International issue of New Zealand's Flash Frontier.

Kristyn Bacon. Kristyn was the first editor to reach out to me and ask me for a story, based on her reading of my published work. I'm very grateful to her for publishing "Shiretoko" in the first issue of the magazine she founded, Berlin's Trainless Magazine.

E. B. Bartels. Her acceptances and publication of "Illusion of Depth" and "Sea of Glass" in Columbia's Catch and Release were important breakthroughs for me, especially in the publication and dissemination of my flash fictions.

Bayard. New York's Bayard was the first editor to publish my fiction and the first to invite me to read publicly from my work, back in 2005. His words on my submission, "This is so excellent--exactly what we're looking for!" signalled the beginning of my career as a fiction writer. He published two of my early flashes in the journal he founded, Happy.

Yeow Kai Chai. Kai Chai accepted and published my Korean story "Seokguram" in Singapore's Quarterly Literary Review Singapore. This was a hugely appreciated gesture from the Singapore poet.

Ian Chung. As the editor who published "Lines Written on a Mall Parking Lot Bench in Mesquite Nevada" and "Montreal Refraction," in Eunoia Review, Ian has been an important editor for me.

Gloria Cronin. As the editor of the Saul Bellow Journal, which she founded, Gloria accepted and published both of the major critical articles I have published to date on Saul Bellow. Since the two articles amount to about 18,000 words, she is also the editor who can claim to have published more of my writing than anyone else. The publication of both articles was a huge contribution to and is the foundation of my career as a published scholar.

C. Michael Curtis. While he never published one of my stories in The Atlantic, C. Michael Curtis's personal letters to me about "Radinsky," "What Every Man Needs," and "The Desiderative Infix" were a huge encouragement of my work early on. I got my first letter from him in 2002.

Michelle Elvy. Michelle was hugely supportive of my work, publishing two of my pieces, "Chiricahua" and "Solstitial" in New Zealand's Flash Frontier, the journal she founded.

Crystal Gibbins. As the editor who published "Big Baby Moses" in Split Rock Review, Crystal played a big role in disseminating my work. Crystal also has a hugely positive attitude to her writers.

Anna Godbersen. Her feedback on and encouragment of my work, based on my submissions to Esquire kept me going for years. For a long time she was the only person who encouraged my work.

Tammy Ho. Tammy not only published "Incident on Abiko Street" in Cha, but also nominated my story for a Best of the Net Award and a Pushcart Prize. She's been a massive supporter of my work.

Suzanne Kamata. Suzanne accepted my story "Awa Odori" for publication in the Kyoto Journal. This was my first acceptance for publication in Japan. Suzanne was also very supportive and positive in previous interactions with me about earlier submissions, providing feedback and encouragement.

Daniel Caplice Lynch. As editor of New York Stories, DCL was one of the first to recognize my writing. His comments on "Slimer" and subsequent submissions kept me going in 2003.

Adrienne Miller. The letter she wrote to me about "Slimer" in 2005, when she was literary editor of Esquire, was a huge encouragment and lift for me. Since Miller and Godbersen left Esquire I've had no more positive vibes.

Josh Raab. Josh has been key in supporting and publishing my work at theNewerYork, for which I am very grateful. He created a venue where my more radical formal work could reach an audience: huge!

Rocky Rakovic. His letter to me about "Characters Madmen Alone Can Read," back in 2005 when he was still an editor at Playboy, was a huge encouragement.

Lucy Raven. Her comments and responses to my submissions to Bomb encouraged me for years when I was starting out.

Cynthia Reeser. Cynthia's edit of "What Charlie Said" for the Tampa Review Online publication of that piece was rigorous and ultimately helped the piece. I found she could see things I couldn't, and she had a very sharp editorial eye!

Joanna Semeiks. As the editor who accepted and published "Slimer" in Confrontation in 2010, Joanna was responsible for a huge breakthrough in publishing my work and getting my entire career going.

Chuck Young. Chuck is my hero. He did the impossible edit on "Cryptograph" and was the man who also worked on "Yanagawa" and (I assume) "Hong Kong Labyrinth" at theNewerYork. Credit for the final appearance and edit on "Cryptograph" must also go to Chuck.

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